Versace dedicates Men’s S/S’20 to Keith Flint with a bold, flashyvintage flair
With the bold, eccentric pomp and flair signatory to the game-changing Versace aesthetics of the 90s, Donatella utilised the Milanese runways to pay homage to the recently demised Keith Flint, the founding member of electronic dance act ‘The Prodigy’. The collection was indeed a celebration of the 90s as Donatella combined her design language with Gianni’s, staying true to fashion house’s roots to dedicate the creations to another 90s superstar.
“I dedicate this collection to my old friend. He was disruption… and he performed right here the last time he was in Milan,” said the designer for an interview preceding the show. The pieces completely disrupted the gender demarcations as each and every surface oozed of over-the-top ostentatiousness, with lustre splashes, gloss fabrics, sequins constructing leopard spots and car prints along with bright neon lights.
Prints and more, more, more prints were the keyword for this show, as many were brought together to form cleverly harmonious mosaic over garments. Cheetah print was a major standout of the collection, as she used the animal skin pattern over glossy blazers, button downs, pants and skin-fitting tights, all paired against a rather sombre solid upper or lower half. Embracing the 80s were the acid wash and tie-and-dye prints, juxtaposed together over Prince of Wales fabric and denims to form ensembles that were true to the Versace aesthetic – busy, bold and loud. Keeping in line with the trend several luxury houses are turning to for the season, Versace reimagined several archival key prints in collaboration with artist Andy Dixon including vintage Versace fragrance ads on T-shirts and denim.
“For this collection, I wanted to explore the elements that empower a man. It’s definitely the confidence, the freedom and desire to express himself without hesitation,” said Donatella Versace and further described her next-season muse as “a slightly more serious guy” just before the show, adding that she wanted to celebrate the moment “a young man becomes a man” which for her comes the ceremonial purchase of their first car. She translated this by introducing a coordinated stark black suit-set with crystal cars splashed all over it as one of the central pieces. A mix of brilliant paisley skin-conforming coordinated sets also showed up towards the end along with dazzling eveningwear tailored sets and cut-out dresses for womenswear.
The fabric selection was in harmony with the theme, as her go-to fabric choices ranged from faux leather, which was fringed, paved with silver grommets, or whipstitched, to herringbone knits, denims, vinyl, matte shine polyesters, jersey knits and skin-hugging Lurex.
The silhouettes championed the contemporary man, with power suiting being a major influence, as a parade of belted coats with shorts, lustrous printed jackets against skin-fit lowers, coordinated AOP suit-sets, half and half jackets and longline overcoats graced the runways.
The house was acquired by the famous conglomerate Capri Holdings, but Donatella made sure that the creative presence was exclusively Versace by placing evident Gianni Versace signature over neckties, or in intricate crystal lines patterned over silk shirts, along with baseball caps and Gianni Versace signature socks. The collection garnered appreciation from many loyal to the fashion house, as it served on the platter the right mix of the Versace legacy, its journey and the gender-positive future design assimilation it is aiming for.